Andy Wood Live Workshop! Mandolin and Acoustic Guitar Technique
Вставка
- Опубліковано 30 вер 2024
- ➠ Join the Cracking the Code Community: troygrady.com/...
➠ Browse our products & free downloads: troygrady.com/...
➠ Head to the forum for questions!: forum.troygrad...
---
Join us in the Cracking the Code studio with Andy Wood as we take an up-close look at his incredible acoustic guitar and mandolin technique! Have questions for Andy? Submit them here: troygrady.com/...
---
Andy’s amazing right hand movements across electric guitar, acoustic guitar and mandolin share a family resemblance in their super fluid use of wrist motion mechanics. These movements adapt in subtle yet important ways to the task at hand, from the big box of the Martin D28 Dreadnought to the tiny violin-sized mandolin - among both the largest and smallest picked instruments most of us are likely to encounter.
While it’s awesome to know that the same basic ingredients can work on such disparate mechanical problems, it’s another to actually make that happen. In this live broadcast we’re going to boil down the exact arm and hand setups, anchor points, and picking motions Andy uses to generate his famously fluid and accurate sound on both of these important instruments.
Even if you’re not an acoustic or mandolin player, the experience of making your technique work in the smaller format can be an invaluable type of cross-training for learning complicated hand movements on your usual axe.
My favorite guest that you've had. Andy has incredible skills, and seems like someone that would just be fun to hang out with.
I can confirm that Andy is definitely fun to hang out with!
Troy is Dr Strange of guitar.
how effortless Andy makes his incredible playing seem... 🤯
The mandolin skills on display here are outrageous. Incredible.
54:40 I’m going to steal this lick rn rn
01:36:49 man that is machine like precision. Andy Wood is my new hero.
This is fantastic, thanks for putting this together Troy and Andy! I'm curious about what's going on upstream from Andy's picking hand, specifically how engaged are the biceps, triceps and deltoids while picking and strumming. I know my right shoulder completely locks up...
44:54 I’m going to learn stuff like this, this is a reference for me so I can just click on this link to get back to it
Don`t know if someone already told you this, but: You have to make a pick technique with Frank Gambale. The way he plays the pick, never seen that before. Twisted my fingers long time ago!
Love you Troy!
I'm not sure whether you or anyone else has discussed this on any of your other videos, but when you are talking about pick angle, wrist curve, etc., and comparing musicians, remember that Chris Thile and Steve Morse are both left-handed, but play right-handed. As a left-hander myself who plays mando and guitar right-handed, I have looked at left-handers and their approaches to playing right-handed, and have often wondered whether "handedness" may have any impact, consciously or not, on arm, wrist angle or pick grip/angle, attack, dynamics, speed, and learning the instruments in general, etc. Glen Campbell, fingerstyle guitarist Richard Smith, and jazz guitarist/teacher Ted Greene, to name a few others, are also left-handers who have played right-handed. I have read that Paul Simon is also left-handed, again playing right-handed.
is andy using jazz style picks here?
22.25 big blue chip
I agree, but I don’t think I said that anyone plays with their arm not touching the bout, but I’ve heard Tony Rice say that he doesn’t wear short sleeves. If you have noticed they’ve been building guitars for several years with a beveled bout for this reason. There is also the device that they make for mandolins
As far as hand or finger anchoring, there are probably as many or more flatpickers and Mandolin players that anchor, than those that don’t. I’m just saying that there is a sub-culture of “purists” that feel that it’s an superior method. I’ve gotten used to doing it, but my sonic pallet is not refined enough to hear the difference.
I’m all about technology and bio-mechanics, and I’ve always tried to teach my students how to perform with the least amount of stress and trauma to their bodies, so I appreciate your work more than most.
The first time I saw one of your videos was with Carl Minor and I learned some good stuff from that project.
I’ve been a PGA teaching professional
for 29 years, and what I’ve learned is that there is no “the way” to do
It.
I probably need to do a better job with my observations.
Hey Troy! Just wonderful and so much to take from to improve my playing. Thank you very much to the both of you. Cheers, Richard from Paris
Some of this feels like fixating on the finger that’s pointing at the moon. It is an amazing study either way and Andy is so talented and gracious with his knowledge.
Andy Wood?! ...Well all right!! Man andy your great ! Troy Thank you so much for this interview. All the best to both of you!! From long Island, and yes in L.I. We listen to blue grass and country picking...🫡 cheers
"I had the thing, now it's gone. Where did it go?" I've been doing that for 30 years and it still won't stay.
My old bandleader and singer used to tell me; "There are only two main sorts of guitar strums... Voom-vats.,... and... Oombachucka's!" I suppose the oombachucka is a syncopated feel, whereas voom-vat is a straight down beat rung and followed by a muted stroke on the off beat. However you feel it, at the ideal speed for any song, I feel that one needs to swing slightly into each beat so as to use the natural energy of emphasising the pocket. However you look at it, to me it achieves rhythm rather than only beat and timing, and gives a more natural flow to the song which , just as in an electric car retrieving charge to the batteries under breaking, if you bounce naturally off the clear nodes of the beat, you'll glance off, retaining some of the energy, as opposed to bumping the beat hard and coming to a collision stop against the string, having to force a new movement which, unconnected from the previous beat will likely go out of time which jars the player snd the listener. A natural arc which Andy( as I've previoudly said to people) describes as " like a whip", is how I like to visualise the wrist. Not forced, but loose enough to swing and create smaller arcs within the main fling of the wrist... as if you swing the hands weight and end up with smaller continued movements, like trailing delays after the main swing. I know Troy has made a science out of these detsils of performance technique, and I can see why. It really hard to put into words what a series of only indirectly conscious movements can be so a series of standardised definitions is a really good idea for anyone wanting not only technical clean execution, but also an underlying natursl musical taste and tone which is the difference between a performance by sn artist and a program executed perfectly from an engineering point of view by a robot which for neutrality of performance may allow the composition to speak for itself, but the subtleties of a human artistic rendering might involve and entice the listener from the deeper soulfull connection that already exists between people, and evoke thereby a more culturally inviting experience. ( This is why we have music : some things can't be put inyo words!!!). Thanks for this dig into the texture of good artists that go beyond technique.
Andy could play a stick with a piece of string on it and make it sound great! 🙂😶🙂
This was amazing Troy. Please tell me there will be tabs available for all those runs
This deserves many more views. Thanks to both for making it possible.
Any chance to invite Andy again in the future? Or in your opinion everything which was possible to cover was done when these videos were made?
The Pit and the Pendulum
Tremolo 😅
Wichita, KS native here randomly rewatching this while my friends are at Winfield and I’m not. I always forget what a whole deal it is being from here. Super cool hearing you guys talking about it despite the fomo I’m dealing with 👍🏻. Fantastic stuff as always
Sounds Irish. I need a green beer.
A ton of bluegrass standards and instrumentation borrow heavily from Irish folk music. A lot of standards in bluegrass are also standards in Irish folk.
Awesome retro Doctor Strange T and I thought we decided on pendulum not guillotine
So down to earth...and so awesome. Who knew Randy Quaid could play like that. JK. Andy is absolutely incredible.
Bill and Ted’s Excellent adventure. Thanks guys wonderful video!
Re The Pit and the Pendulum. The item in question would be called a pendulum blade which likely originated with The Spanish Inquisition. I was not expecting that when looking at this fine video but then again nobody expects The Spanish Inquisition...
Troy Grady - you are a hero. Lightning captured in a bottle... yet again.
Amazing how you explain and make conscious a previously unconscious process, like crosspicking on heavy vs light strings
Quite amazing seeing Andy rip it up in this video. This style really explores avenue of picking rock/metal guitarist rarely explored. Btw can Miller Picking be a good mechanic to play this kinda music
Wow - I've been playing a long time and most of this is so beyond me -- it's a master class for the world-class picker. Fascinating stuff.
You touched on a concept at about the 1:18:00 mark that I have felt for many years. The tension you feel relates to both the string gauge and the pick. I find that the lighter the gauge string I use, the heavier the pick I need to use to maintain the "feel".
Interesting stuff. I think I use some of the 'pendulum' type, mixed with hybrid. One stroke a now think is a 'pick-slant' but it's an upstroke and it's more to get slight 'snap' and emphasis on a particular note and I usually raise the pick high off the string after it and sustain that note or only follow it with a finger stroke so my pick doesn't interfere with that string. But I coild be guessing. I'll have to set up that camera angle that you use. ua-cam.com/video/GB7-Gle_Wtg/v-deo.html
Very underrated workshop
Thanks guys, this is so great! Do you know what kind of mando Andy is playing?
He has both Flatbush and Collings, but I don't remember which one this is. If it doesn't look like Collings, then it's probably the Flatbush!
@@troygrady Thanks!
*new camptown races, Bb, no second fiddle required.
;)
my implication was majority of tunes. kenny bakers windy city is in Bb, cheyenne is in Gminor and Bb. there are of course exceptions, but no one would ever argue that most grass and fiddle tunes standards aren't in G,A,D,C,E and B
The melody at the beginning of the video sounds much like The Battle of 1814.
you mean old 1812? Yeah sounds like it but andy wood style!
Nathan Bedford Forrest actually it is the Battle of New Orleans... in 1814 we took a little trip, along with Colonel Jackson down the mighty mississip
1:20:59
1:04:16
Troy,
After 40 years of playing guitar, I started playing Mandolin last year, and it took me awhile to get used to it, but I’ve noticed that Thile doesn’t anchor, and it surprises me that Andy does. But bluegrass players are really particular about where their right arm touches the instrument. Flatpickers try not to touch the bridge at all unless their purposely muting. They don’t wear short sleeves because when the skin touches the bout, it affects the projection of the instrument, just like anchoring the hand does.
One reason that you’re scraping your hand on the bridge posts, might be that the saddle part is too low.
Lastly it’s “bile them cabbage down”
There’s plenty of anchoring going on at the elite levels of bluegrass flat picking! Almost everyone uses a forearm anchor on both mando and guitar. Plenty use wrist anchors including Molly Tuttle and David Grier, both of whom who we’ve filmed. Bryan Sutton and Carl Miner straight up touch the guitar top. The concerns about affecting the sound by touching the body are largely moot when many of the best players do it.
Actually, it's "bile 'em cabbage down"...
Yep, and I first noticed that in your vid of Molly playing White Freightliner. I have been battling my tendency to rest my wrist lightly on the bridge, and now I don't worry about that. There's more than one way to skin a carp.
PS. Dr. Strange was a sucky movie!
If you want to hear a real mandolin master then go and listen to Chris Thile playing Bach on mandolin.That's a challenge.If you want to hear a real acoustic guitar master then go and listen to Michael Paouris.The level of their virtuosity is far far above this.
Troy is on the aspergers spectrum